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This 180W GaN Charger lets you Charge 7 Devices At Once… And Measure Real-time Power Output

Every tech enthusiast has felt this particular sting: you’ve got the latest laptop, the best wireless earbuds, and a phone that practically runs AI models locally – but the charger in your backpack is a mess of tangled cords and mismatched power bricks. Universal charging promised salvation years ago, but the clutter persists, hidden behind claims of fast charging speeds and vague wattage labels. Enter Voltix, the charger that’s bringing both clarity and serious wattage to the tech landscape.

If you’ve heard tech bloggers nerding out about gallium nitride (GaN) lately, there’s good reason. GaN isn’t merely marketing hype; it’s a legit leap forward from traditional silicon, allowing chargers to be smaller, cooler, and massively more efficient. By swapping silicon transistors for GaN, devices can handle higher wattage in tighter spaces without overheating. The practical upshot? Chargers that are less than half the size while being nearly 5x as powerful.

Designer: Voltix

Click Here to Buy Now: $79 $119 (34% off)  Hurry! Only 14 days left.

Voltix capitalizes brilliantly on GaN’s potential, packing a hefty 180 watts into a surprisingly compact form factor. To put that number into perspective, that’s more than enough juice to simultaneously fast-charge two high-powered laptops, a smartphone, earbuds, and still have energy left over for a drone battery.

The Voltix lets you charge a staggering 7 devices simultaneously. Six USB ports on the front let you juice everything from your laptop to your smartwatch to even that Nintendo Switch 2 you just bought. Meanwhile, the real-estate on the top of the Voltix gets turned into a Qi2 wireless charger, allowing you to snap your phone in place and have it charge at a cool 15W.

The beauty of GaN chargers is that they take the guesswork out of charging. There’s enough power to charge all your devices, and there’s enough brains inside the charger to know which device gets how much power. The Voltix intuitively knows that your laptop needs more power than your tablet. And your phone needs more power than your TWS earbuds. It manages the power deliver intuitively, distributing the 180W equitably to all your devices.

But what genuinely makes Voltix stand apart is its integrated OLED display. For once, you aren’t left guessing whether your MacBook’s slower charge is due to cable or device – it tells you directly. Each of Voltix’s six ports has its own real-time readout, displaying exactly how many watts flow to your connected gadgets. This is transparency we rarely see in power adapters, giving users control and insight into how each device charges. It’s almost addictive to watch how power dynamically reallocates as new devices are connected and disconnected.

On top, literally, Voltix adds another convenience: a 15-watt Qi2 wireless charging pad. Relying on the new Qi2 standard, this allows you to magnetically snap any Qi2-compatible phone to the top of the Voltix and have it click in place like MagSafe. Yes, it works with MagSafe too, allowing you to snap your phone without worrying about alignment… and sure, it works with Qi1 phones too – just without that magnetic snapping feature. Just because this is the future of charging doesn’t mean it alienates yesterday’s tech.

The GaN internals mean it can consistently deliver high wattage without excessive heat buildup. Voltix smartly balances load distribution in real-time, protecting your devices by throttling power only when necessary, and never blindly cutting power altogether. It’s intelligent enough to identify faulty cables and questionable connections, helping you diagnose charging issues at a glance.

Meanwhile, Voltix’s design pays attention to detail in a way that makes the industrial designer in me super happy. Its column-like form comes with a vacuum-pad base that locks it in place so it doesn’t shift around while plugging/unplugging cables, or docking/undocking your phone. A circular OLED display on the front clearly gives you the information you need, with a simple two-button interface allowing you to cycle between power output display and a 12/24-hour clock (which felt like a surprising easter egg, to be honest). Between those two buttons sits the Voltix’s power button – press to switch on, press again to switch off. Easy-peasy.

However, here’s the broader takeaway: Voltix isn’t reinventing chargers; it’s perfecting them. The idea of “one charger to rule them all” has floated around for years, but Voltix makes good on that concept by actually doing it in practice. I personally use a 160W GaN charger while traveling, and I can’t begin to tell you how great it is to not have to carry that disgustingly bulky laptop charger around with me. My 160W charger packs 4 ports, and can charge all my devices just fine… but the Voltix does what all products do – improve on existing designs. The ability to charge 7 devices (as opposed to 4) and monitor the power delivery for each one of them feels nothing short of magic.

At $119 retail (with early Kickstarter pricing starting at $79), Voltix isn’t the cheapest charger on the market. But considering it replaces 5-7 separate chargers while providing features none of them offer, the value proposition becomes clear. For anyone juggling multiple devices or who simply appreciates thoughtful design and transparency in their tech, this is the charger you’ve been waiting for.

Click Here to Buy Now: $79 $119 (34% off)  Hurry! Only 14 days left.

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Japanese Minimalist Retreat Is Perfect For Work-from-Home Living With Seamless Indoor-Outdoor Comfort

Tucked into the serene landscape of Karuizawa, the YMK House by Takeshi Hirobe Architects reveals a mindful approach to residential living. The home is designed as a retreat, offering spaces that gently unfold into the surrounding nature. Large windows usher in daylight, creating a connection between the interiors and the surrounding environment. The design leans on subtle gestures, making each room feel open yet private, with the outdoors always within reach. This careful balance makes the home both inviting and functional.

The layout inside the home flows in a natural sequence, supporting the daily rhythms of those who live there. Shared areas feel generous, while private zones remain quiet and well-defined. The living room encourages relaxation, positioned to take advantage of the site’s best views. Even when seated indoors, the feeling of being surrounded by nature persists. This sense of calm is enhanced by the use of natural materials and a restrained palette, ensuring the space feels warm and uncluttered.

Designer: Takeshi Hirobe Architects

The kitchen is arranged for practical use, holding everything needed for family meals or quiet breakfasts. Custom cabinetry keeps storage solutions close at hand, while open shelving allows for easy access to everyday items. The kitchen’s position within the house means it is both a social hub and a functional workspace. Meals can be enjoyed at a dining table set near the windows, with changing light marking the passage of each day. This attention to daily experience grounds the utility home.

Bedrooms in the YMK House are designed for rest and retreat. Each sleeping area offers privacy without feeling cut off from the rest of the home. Built-in storage is thoughtfully integrated, reducing visual clutter and keeping personal items organized. Soft light filters in through carefully placed openings, helping to set a restful mood. The overall effect is one of gentle enclosure, where comfort and order go hand in hand.

Terraces and small outdoor spaces create opportunities for quiet reflection or shared conversation. These transitions between inside and out are seamless, making it easy to step outdoors for fresh air or a change of perspective. The landscape becomes an integral part of the daily routine, inviting residents to notice the shifting seasons and subtle changes in the weather.

The YMK House proves how thoughtful and thought-through design can elevate everyday living. Every choice, from spatial arrangement to material selection, is shaped by a desire to create a sense of ease. The home supports work, relaxation, and gathering, all within a setting that feels both protected and open. This balance of utility and comfort is the quiet strength of the YMK House, making it a place where living feels both simple and full.

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Nothing Phone (3) spec-leak reveals 16 GB RAM and 512 GB storage, hinting at AI-powerhouse

Sixteen gigabytes used to be the bragging right of a mid-range gaming PC, yet a mundane retail slip now assigns that figure to a rectangular glass slab that rides in your pocket. Walmart’s business portal briefly spilled the beans on Nothing’s upcoming Phone (3), listing 16 GB of LPDDR5X, 512 GB of UFS 4.0, and a July-first street date – a pre-Independence Day fireworks show for spec hunters (and also the first time Nothing is officially bringing its phone to US shores).

That top-shelf configuration is expected to land at 899 dollars, while a 12 GB/256 GB model hovers around 799. North-American buyers finally get full AT&T and T-Mobile 5G support, eliminating the import-phone headaches that haunted earlier models. Pricing this high signals Nothing’s confidence: it believes hardware alone can elbow past entrenched giants once the conversation shifts from camera count to neural horsepower.

Qualcomm’s incoming Snapdragon 8 Elite reportedly offers 60 TOPS of on-chip AI grunt, yet silicon that ravenous still stalls if Android keeps evicting tensor weights. Sixteen gigabytes means a seven-billion-parameter language model sits resident while you doom-scroll, translate, and sketch-to-image in the same breath. Google learned the boundary when Gemini Nano refused to load on 8 GB Pixels; Nothing would rather overshoot than apologize later. citeturn2news10

Count on the keynote to flaunt offline transcription, AI-generated wallpapers, and a ChatGPT-lite that never leaks a byte outside your SIM. The real magic will be subtle: predictive caching and perceptual haptics that feel instantaneous because next-step suggestions, tensor hints, and frame buffers finally coexist in memory. In 2025, RAM is the new battery – users notice the pain only when it runs dry.

Performance theater, however, must share the spotlight with literal theater. Nothing has signed the death certificate for its iconic Glyph light bars. Two generations of Morse-code strips earned cult status in dark subway cars, yet refinement demands evolution. Enter the Glyph Matrix, a dotted halo of individually addressable LEDs capable of tracing emojis, icons, even scrolling text across that transparent back plate.

Now we aren’t entirely sure, but it does seem like the Glyph Interface’s death has also taken the wireless charging coil out in the ultimate bear-hug. At least speculation is that this new Glyph Matrix sits dead center, occupying the estate once filled in by the wireless charging coil that practically became a core part of the flagship Phone’s recognizable design. There’s no real way of knowing whether the matrix DOES replace the Qi2 coil, but it does feel like that’s the best place to put the circular light grid.

Pair that canvas with on-device AI inference and mischief follows. The LEDs could pulse in harmonic waves that mirror the sentiment of your playlist, morph into a quiet progress bar while diffusion models whip up an illustration, or stay dormant until a predictive engine decides the alert is truly worth your glance. Hardware finally becomes ambient UX, not another ringtone.

Ambition rarely travels alone. Two hundred-plus LEDs sipping power alongside a hungrier NPU may erase whatever watt-hour gains arrive with the rumored 5,000 mAh pack. Relocating the coil risks slower wireless charging or the loss of reverse-charging altogether. If the thermal math is wrong, your pocket could double as a hand warmer while you wait for an AI recipe suggestion.

Still, the arc points forward. Smartphones once fought over megapixels, then refresh rates; 2025 crowns winners on neural FLOPS and programmable lumens. By marrying 16 GB of breathing room with a light-spewing, AI-aware rear panel, Phone (3) sketches a roadmap where hardware and interface literally illuminate each other. Even if the inaugural Matrix flickers, the idea nudges the industry toward devices that think harder, glow smarter, and feel unmistakably alive.

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Blind-friendly AC Remote swaps Buttons for one Smooth Slider + Braille Display

Mid-June, lights off, ceiling fan swirling lazily, you pat the bedside table in a blind hunt for the AC remote, pressing every shape your fingers meet until a coaster clatters to the floor. Sighted users grumble when that ritual lasts ten seconds. However, for someone with limited or zero vision, the dance can steal entire minutes, each one stretching patience while the room swells with stale heat.

An industrial design trio from Seoul decided the remote should quit playing hide and seek altogether. Their answer is a remote control that does two things fundamentally differently – it starts with a wall-mounted design so there’s really no frantic hand-waving to find the remote (or upturning the sofa to check if the remote slipped through the cushions). The second design deviation is the use of a Braille display and a sliding temperature input – two features that make the remote control an instant hit for people who can’t easily navigate rows of buttons, and LCD screens.

Designer: Zhejiang Zhongguang Electrical Co., Ltd.

The beauty of that slider sits in its analog honesty. A linear potentiometer pipes position data straight into a split-core microcontroller, letting the user drag temperature in one fluid sweep rather than jabbing plus and minus claws. Each millimeter equals roughly 0.16 degrees, so nudging two ridges cooler truly means two degrees cooler, no abstraction, no laggy delay, no pixel-guessing hidden behind glass.

Temperature feedback arrives via a three-character braille display tucked above the track. Twelve piezo pins rise for dots, sink for blanks, refreshing every 400 milliseconds to mirror slider position. Sixteen through thirty read cleanly, one cell for the tens, one for the units, while the third cell provides haptic confirmation whenever the remote shifts between cool, heat, and fan modes.

Power comes from an 800 mAh lithium-ion pouch good for roughly fourteen months of daily tweaks, helped by a dozing Bluetooth Low Energy radio that wakes only when the slider moves. During setup, the unit memorizes your split-type’s IR codes, then retires its antenna, leaving the final user experience purely tactile and local, immune to spotty Wi-Fi or another app begging for location permission.

What fascinates me is the philosophical slap this product gives to decades of screen-centric interaction. Designers keep cramming OLEDs into remotes under the banner of smart living, forgetting that information transmitted visually vanishes for anyone outside the favored bell curve. Here, sight becomes optional. Orientation relies on rails and braille that physically change, the way thermostats once dialed before progress equated buttons with progress.

It also solves that recurring universal-design dilemma where accessible add-ons feel tacked on. The slider is the primary interface for everyone, not a secondary braille sticker pack. Sighted guests can glance at the inked scale, yet the haptic cue is still quicker in the dark. Equality by default, novelty through restraint, very Dieter Rams if Rams had prototyped for Perkins School rather than Braun.

Products that quietly rearrange everyday rituals often become the tools we refuse to live without. This wall-hugging controller trades the cold glow of digits for the warmth of touch, proving empathy can be machined, injection-molded, and mounted at shoulder height, waiting patiently for any hand that reaches its way.

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LEGO® Icons Dune Atreides Royal Ornithopter brings iconic aircraft to your desk

The highly anticipated 3rd movie in the Dune trilogy by Denis Villeneuve is not coming out yet until late next year but there isn’t a lack of related property to tide you over. The recently released video game Dune Awakening has been making waves and of course you can go back and watch the other movies as well as the recently concluded TV series. But if you’re more into collecting IP-related toys, then this is something you might want to own (if you haven’t gotten it yet, that is.)

The LEGO® Icons Dune Atreides Royal Ornithopter is an epic building set, a detailed replica of the House Atreides aircraft as seen in the first movie Dune: Part One. Here you can see it in its magnificent brick form and this meticulously crafted 1,369-piece set is designed for adult builders as it’s one of their more complicated builds. The premium-quality replica includes fold-out, flappable wings, deployable landing gear, and an opening cockpit.

Designer: LEGO

When fully extended, the ornithopter spans about 79 cm (31 inches) wide, 57 cm long, and 23 cm tall. This makes it one of LEGO’s grandest Icons builds. It has a dial-controlled feature that is able to retract landing gear and close the rear ramp. It also has an opening cockpit that can fit two seated figures. This build experience combines system bricks with Technic components, 583 pieces in particular. There are also 75 hybrid parts included as well as new titanium metallic/pearl dark gray minifig body prints (still‑suits), a unique 6×4 wedge angled Trans‑Black windscreen, and eight 40‑module propeller blades designed for realistic flapping.

There are also 8 of the more iconic characters from the novels and movies as minifigs. This includes Paul Atreides, Lady Jessica, Gurney Halleck, Chani, Leto Atreides, Liet Kynes, Duncan Idaho and Baron Harkonnen (sporting his long robe). Once you finish the build, you can display it in either flight or landing modes, whichever scene you’re aiming to recreate. The LEGO Builder app of course has a digital version of the instructions.

Some of those who have built this say that it’s one of the most challenging non-Technic LEGO Icons set but the technically demanding build is of course worth it in the end. It’s a mechanical masterpiece that captures the spirit and scale of Dune. It sets a new benchmark for LEGO’s integration of Technic functionality into Icons-scale builds. Its impressive roster of characters, intricate design, and satisfying interactive features make it a must-have for right‑brained builders with a love for science fiction.

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Buildable Bling Rings Turn Childhood Fun into Wearable Treasure

Every once in a while, a piece of jewelry comes along that feels like it was plucked straight from a daydream. Studio GOGO’s playful rings are exactly that: a clever blend of grown-up style and childlike wonder, created in the heart of Berlin. These curious little treasures are not your typical rings. They bring together the gleam of precious metal and the snap-happy fun of those colorful building bricks we all know and love.

At first glance, Studio GOGO’s rings look every bit the part of fine jewelry. Crafted from sterling silver or swathed in a warm gold finish, each ring is smooth and polished on the inside, with a softly matte outer surface that catches the light just right. The feel is weighty and satisfying, a reminder that these are serious pieces of craftsmanship. But then, you spot the top—an unmistakable grid ready and waiting for a set of bright, interlocking toy bricks.

Designer: Studio GOGO

That’s where the magic happens. The rings are secretly engineered to let you snap on your favorite mini blocks, figures, or even a tiny flower or two. One moment it’s a sleek, minimalist band, and the next it’s a miniature sculpture showing off your mood, your favorite color, or that little character you’ve kept since you were five. It is a grown-up accessory that refuses to take itself too seriously.

There is something irresistible about the contrast. On the one hand, you have the careful artistry of Berlin’s jewelry makers, each piece lovingly crafted, each detail considered. On the other, you get the joyful unpredictability of play. The result is a ring that feels both precious and playful, as comfortable at a gallery opening as it is at a weekend picnic. It is the kind of jewelry that starts conversations, sparks smiles, and, if we are being honest, invites a little envy from anyone who ever spent an afternoon building castles and spaceships on the living room floor.

The real fun comes from the endless ways you can personalize your ring. Swap out colors to match your outfit, add a whimsical figure for a laugh, or keep it simple with a single bright block. There is no wrong way to wear it—only your way. For those who love a bit of tactile fidgeting, it is hard to resist the urge to snap, unsnap, and rebuild all day long.

Studio GOGO’s rings are more than just a fashion statement. They are a wearable wink at nostalgia, a reminder that even as adults, we do not have to leave our sense of play behind. With every click and snap, these rings invite you to carry a little piece of childhood on your finger, wrapped in the glow of silver or gold. When living in a world that sometimes feels a little too serious, it’s nice to have a ring that invites you to play.

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100 colors gate exhibit welcomes people to Takanawa Gateway City

I’m the kind of person that is easily attracted to colors. Sure, there are times when I feel monochromatic but most of the time, I am drawn to colorful things like clothes, accessories, even structures. There is something about a tapestry of different hues that is refreshing to the eyes and the heart. So when I see something that uses a variety of colors, I am drawn to it and would either take pictures or even explore that area.

If ever you’re in Tokyo anytime soon the next couple of months, and you’re like me, drawn to colors, then visit “100 colors path”, the latest in the 100 colors series by Tokyo-based French artist Emmanuelle Moureaux (who’s also an architect and designer). This is the 53rd work in her “100 colors” series and it represents the passage time as told in 100 colors. This is also a celebration of the grand opening of Takanawa Gateway City, a new urban complex developed by East Japan Railway Company.

Designer: Emmanuelle Moureaux

This gate-shaped art installation is made up pf 2,400 lines arranged at equal intervals. Each line is engraved with a year from 2025 to 100 years into the future, specifically 2124 and each is coated in one of 100 colors. The lines are precisely spaced for a rhythmic experience, playing with overlapping hues and moiré patterns (when two or more lines are overlaid). As you move through the “gate” or when you change your perspective, the lines seem to appear and disappear. At the center is a cut out paath and as you step inside, you get the feeling of immersing yourself in 100 years of time.

There are also captivating graphic artworks installed at both the north and south ticket gates of Takanawa Gateway Station, seamlessly extending the “100 colors path” experience beyond the park. These vibrant visuals incorporate the same design language of flowing lines, rich colors, and chronological elements—displaying years just like the main installation—creating a cohesive and immersive atmosphere as commuters move through the station. In addition to the physical artworks, visitors can further engage with the project through an interactive augmented reality (AR) experience titled “100 colors city.” By using a smartphone, users can access a dynamic digital overlay that brings the vivid palette of 100 colors to life in their surroundings.

“100 colors no. 53 – 100 colors path” transforms a pedestrian plaza into a temporal threshold, where every color is a year, every step a moment lived. It’s a poetic fusion of art, time, and urban life and is perfectly timed to launch Takanawa Gateway City into a future of vibrancy and collective engagement. If you’re in Tokyo before July, this is a must-visit: walk through it, let the colors and numbers resonate, and imagine the century they represent.

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Four Brands Redefine Materials at Copenhagen’s 3 Days of Design 2025

Material innovation takes center stage at Copenhagen’s 3 Days of Design festival next week, as four international brands present new approaches to sustainable manufacturing. From furniture made with volcanic waste to chairs crafted from 29 layers of paper, the presentations demonstrate how established manufacturers are changing traditional production methods through distinct material strategies.

Armadillo Debuts Seven-Piece AGRA FORMA Collection

Australian rug manufacturer Armadillo enters furniture design through AGRA FORMA, a collaboration with Sydney designer Tom Fereday that comprises seven sculptural pieces anchored by the brand’s iconic Agra rug. The collection includes the Agra Forma Armchair in Ginger, Agra Forma Stool in Thistle, Agra Forma Ottoman available in both Ginger and Thistle colorways, Agra Forma Desk in Thistle, Agra Forma Chair in Thistle, and Agra Forma Low Stool in Ginger.

Key Details:

Material Integration: Pure abrash-dyed wool and American red oak timber unite textile and woodworking craftsmanship in shared geometric language

Design Philosophy: Tom Fereday’s approach celebrates natural material characteristics without overworking design, creating “honest and enduring” objects

Dual Launch Strategy: Collection debuts simultaneously at Copenhagen’s 3 Days of Design and Melbourne Design Week (May 15-25, 2025)

Each piece demonstrates what Armadillo describes as “a refined exploration of materiality, form and the poetic potential of the handmade.” The collection pairs the sun-baked depth of Agra Ginger with the muted cool of Agra Thistle, anchored by the raw integrity of American red oak timber. Sculptural curves and deliberate forms create contrast in refined yet balanced compositions.

Fereday’s design philosophy centers on celebrating “the natural characteristics of natural materials to not overwork a design rather enhance the material and experiential interaction with an object.” His approach emphasizes the tension between natural materials and contemporary manufacture, seeking to create objects that are “honest and enduring.” The designer works at every stage of design, from concept through production and development alongside skilled makers, interrogating the role objects play in contemporary spaces.

The disciplines of rug-making and fine woodwork intersect in a shared language of minimalism and tactility. The raw beauty of sustainable materials, including pure abrash-dyed wool and red oak, are changed into vessels for innovation that transcend the ancient and modern. Each piece articulates what the collaboration calls “a quiet architecture,” inviting a sensory dialogue between surface, structure and space.

The collection launches at The Conary (Dronningens Tværgade 26) within Openhouse Studio’s “Gestures of Home” exhibition, styled by Henriette Schou. Armadillo co-founder Jodie Fried and designer Tom Fereday will be present for the press preview Tuesday, June 17, 9AM-6PM, with a cocktail party Wednesday, June 18, 3PM-6PM.

Arper Advances Sustainable Seating Through PaperShell Innovation

Italian manufacturer Arper presents two sustainable seating solutions at Odd Fellow Palace, building on a 23-year design legacy that began with the original Catifa 53 in 2001. Designed by Lievore Altherr Molina, the Catifa collection was Arper’s first product with an environmental product declaration, establishing the brand’s commitment to sustainable design practices.

Key Details:

Carbon-Negative Production: PaperShell technology sequesters 1.5kg CO2 equivalent per kilogram of material, converting to biochar at end-of-life

Waste Stream Utilization: 29 sheets of kraft paper sourced from Swedish wood production residues (sawdust, chips, branches) with no trees cut specifically

Dual Material Strategy: PaperShell collection alongside Catifa (RE) 46 chairs made from 100% recycled plastic with BREATHAIR cushioning

The Catifa Carta 46 collection uses PaperShell technology, where 29 sheets of responsibly sourced kraft paper bonded with natural resin create chair shells that match traditional plastic durability while offering complete recyclability. The paper originates from Swedish wood production residues including sawdust, chips, and branches, ensuring no trees are explicitly cut for the material. Each kilogram of PaperShell sequesters approximately 1.5 kilograms of CO2 equivalent, making the chairs carbon-negative throughout their lifecycle.

At end-of-life, the chairs undergo pyrolysis, converting the material to biochar that locks carbon permanently while preventing CO2 release into the atmosphere. The original Catifa design, characterized by its bi-curved silhouette and all-in-one shell construction, helped define Arper’s brand personality over two decades. The new PaperShell iteration maintains this iconic form while advancing the company’s circular design principles through material innovation.

Arper also introduces Catifa (RE) 46 chairs made from 100% recycled plastic sourced from post-consumer and post-industrial waste streams. Eight new color options draw inspiration from sustainable architecture, emphasizing exposed materials and natural textures that complement contemporary interior design trends. The collection includes BREATHAIR cushioning, an elastomeric polyester material that provides breathability, water resistance, and full recyclability. The cushioning has been precisely shaped for the first time to fit Catifa specifications, merging comfort with sustainable material innovation.

The exhibition runs Wednesday-Friday at Bredgade 28, with press previews Wednesday, June 18, 12PM-4PM.

Foscarini Presents Dual Lighting Innovations

Italian lighting manufacturer Foscarini presents two major collections at Alice Folker Gallery: the Eolie Collection featuring chandeliers made from recycled lava stone, and the Etoile chandelier series designed by Dordoni Studio. The presentations demonstrate Foscarini’s approach to material experimentation alongside contemporary chandelier design.

Key Details:

Volcanic Waste Transformation: Eolie Collection by Alberto and Francesco Meda converts recycled lava stone into functional lighting while preserving natural crater textures

Transparent Structure Design: Etoile chandeliers use invisible Pyrex cylinders for support, creating floating effect with etched glass diffusers

Dual Configuration Options: Grande Etoile (three-level) and Etoile Ronde (single-level) versions with silver-finished bulbs for optimal light distribution

The Eolie pieces, designed by Alberto and Francesca Meda, incorporate recycled lava stone that retains the porous, crater-like surface textures characteristic of cooled volcanic material. Alberto Meda, born in 1945 and trained as a mechanical engineer at Milan Polytechnic, brings decades of material innovation experience to the collaboration. His design philosophy emphasizes “lightness as a paradigm,” seeking to “produce a simple appearance while using complex technology to solve a problem.”

The father-son design team combines Alberto’s engineering background with Francesco’s focus on traditional craftsmanship. Alberto’s experience as technical manager at Kartell from 1973, where he developed plastic laboratory equipment and furniture projects, informs his understanding of material possibilities and manufacturing constraints. Francesco Meda, born in 1984 and educated at Milan’s Istituto Europeo of Design, gained experience at Sebastian Bergne’s and Ross Lovegrove’s studios in London before returning to collaborate with his father.

Foscarini also presents Etoile, designed by Dordoni Studio, which changes the concept of the chandelier while conserving its intrinsic allure. The design substitutes rich decoration of traditional chandeliers with a refined game of volumes. Contrast between the transparency of the central cylinder in Pyrex and the texture of etched glass diffusers creates balance between opposing elements.

Etoile comes in two versions: Grande Etoile with a configuration on three levels, and Etoile Ronde with a single level. No visible structural element appears at the center, with support for the lighting modules provided by a cylinder of transparent Pyrex that becomes almost imperceptible when the chandelier operates. Slender cylinders branch out from this core to sustain diffusers in blown glass of different sizes, arranged on staggered levels in the Grande model, and as an array in the Ronde version.

The cylinder contains the electrical wiring, left free to move, changing the concept of the arm in a minimal form. In Grande Etoile, the portions of glass vary at different levels: in the upper and lower planes they correspond to two thirds of a cylinder, while at the middle level they take the form of half circumferences, the same pieces utilized in the Etoile Ronde version.

Bulbs with silver frontal finish attach at the center of each diffuser, aiming light towards the glass and allowing the etched diffuser to absorb and then release it. The glass becomes the protagonist, producing soft, enveloping glow and spreading indirect, diffused and atmospheric effects.

The exhibition includes aperitivo events Wednesday and Thursday, 4:30-5:30PM, plus “The Art of Enlightenment” talk Friday, 10:30-11:15AM at Esplanaden 14, with Head of Design Matteo Urbinati leading technical discussions.

Ingo Maurer Challenges Perception with Three New Concepts

German lighting designer Ingo Maurer presents three pieces at Alice Folker Gallery: Nalum, SHHH!, and Jasna Kuchnia. Each design explores the relationship between light, material properties, and visual perception through the late designer’s philosophy of working with “the material which does not exist.”

Key Details:

Wave Motion Technology: Nalum uses floating glass tubes with magnetic LED positioning to create shifting light patterns inspired by ocean waves and water reflection

Perception Deception: SHHH! hides light source within noise-canceling headphones while visible bulb remains unlit, challenging conventional lighting expectations

Porcelain Light Sculpture: Jasna Kuchnia transforms five white plates into wall-mounted lighting with LED backlighting and matchstick ignition illusion

Nalum translates the dynamics of waves and light into a lighting object inspired by the movement of ocean waves and the play of light reflections on water surfaces. The name combines ‘Nalu’, the Hawaiian word for wave, and ‘Lum’, an allusion to light. In addition to the physical meaning of ‘wave’, ‘nalu’ stands for reflection and contemplation. At the center sits a floating, undulating glass tube, illuminated from the outside. The contours of the glass create lines of light through multiple reflections, making Nalum appear to be made entirely of water and light.

The visual lightness results from precise use of glass as material. The wave-shaped inner tube, illuminated from the outside, creates complex interplay of lines, depth, and movement through reflection and refraction. The outer glass tube acts as a calm frame, stabilizing the form, enhancing the light effect, and making technical elements almost disappear. The linear light source integrates discretely, held in place by magnets in the outer glass tube and providing uplight and downlight. This makes Nalum suitable for long tables, such as dining or conference tables, and for spaces where targeted and atmospheric lighting is required. The lighting components can be dimmed independently and produce warm white light of 2700 K.

SHHH! subverts expectations and plays with perception through an unusual encounter between an accessory connected with industrial labor and a light source that paradoxically emits no light. What at first glance seems like a light source is something else again. As in an orchestrated illusion, the true source of light is not the visible bulb, but is hidden inside the noise-proof headset. The light spreads through the bulb into the space, creating an evocative atmosphere. Two directional spots positioned in the lower part of the headset project accent lighting onto surfaces below, combining visual impressions with functional quality.

Jasna Kuchnia consists of five simple white porcelain plates arranged vertically with a narrow LED strip that backlights the porcelain. The light is not diffused but absorbed, refracted, and reflected in subtle gradients of brightness. This interplay creates a vibrant choreography of light and shadow, giving the plates a sculptural presence. The synergy between porcelain and light shows the strength of the design, making the hard, smooth material appear weightless and translucent when illuminated.

Technical specifications include LED, 100/240V, 15.3W, 2700K, CRI ≥ 90, with dimensions of Width 22cm x Height 61cm x Depth 13cm. The fixture mounts directly to the wall with the driver discretely integrated into the wall bracket, making additional installation components unnecessary. The springs holding the plates can be shifted laterally, allowing users to choose strictly vertical alignment or a slightly offset configuration. Multiple elements can be combined for larger installations ranging from ten plates or more in a row.

The frontmost plate features a small, dark matchstick that blends into the overall composition. When the light turns on, the signature charm of an Ingo Maurer design appears: shining through the ceramic, the light source appears to ignite the match, and a warm yellow flame begins to glow.

Axel Schmid, Head of Product and Project Design, leads “Playfulness & Irony in Modern Art & Design” discussion Thursday, 10:30AM.

Festival Context and Material Innovation Impact

The presentations demonstrate how material innovation drives contemporary design development, with each brand addressing sustainability through distinct philosophical approaches. Tom Fereday’s celebration of natural material characteristics, the Meda family’s engineering-informed simplicity, Lievore Altherr Molina’s environmental consciousness, and Ingo Maurer’s perceptual experimentation represent different pathways toward responsible design practice.

The festival features over 200 exhibitions across eight Copenhagen districts, with press appointments coordinated centrally and several venues within walking distance. Copenhagen’s 3 Days of Design runs June 18-20, 2025, with extended hours for trade visitors and media representatives. The presentations collectively showcase how material innovation drives sustainable design development, from natural fiber and timber integration to bio-based composites, waste material change, and conceptual challenges to conventional manufacturing approaches.

The post Four Brands Redefine Materials at Copenhagen’s 3 Days of Design 2025 first appeared on Yanko Design.